Everything Wrong With Disney Owning Star Wars In One Simple Photo


Gaze on my works, ye mighty, and shit your pants. This image summarizes PERFECTLY everything that’s wrong with Disney owning Star Wars. Yes, it’s old news, but OH MY GOD THAT’S DONALD DUCK AS A STORMTROOPER. Wrong, wrong, wrong, wrong, WRONG. Thank you for shitting on my childhood, you heartless corporate bastards. (More than the Lucas already has with the prequels, but that’s old news, too.)

Keep Readin’ Those Funnybooks,



THIS JUST IN: Fanboys “Not Happy” With Casting of Ben Affleck as Batman

Okay, internet trolls, I get it. You’re not happy about Ben Affleck being cast as Batman in 2015’s Batman/Superman movie. To paraphrase Affleck himself in Jay & Silent Bob Strike Back: “The internet has given everyone in America a voice, which they use to talk shit on movies.”

And oh, have the fanboys gone off. You’d think Affleck had murdered George Lucas and raped his corpse with a lightsaber prop, the vitriol is flying so thickly and quickly. And I get the kneejerk response, really, I do. It’s an out-of-left-field casting choice that absolutely NO ONE saw coming. The mind’s natural response to the unknown is repulsion.

But seriously: SHUT. THE FUCK. UP.

It’s a done deal and there’s nothing anyone can do about it. Deal with it, you sad bastards, lest you wind up repeating yourselves as you did when you found out Heath Ledger was playing the Joker. Whoops, too late.

Warner Bros. had a serious dilemma on their hands: anybody who got the unlucky job of following Christian Bale as the Dark Knight was going to be immediately condemned and doomed to endless scrutiny and disdain. Especially since whatever schmuck they wrangled would be following up Bale’s final performance a mere three years later, when the latter’s take on the Dark Knight would still be fresh in the public’s mind. Seriously, Warner’s could find a way to bring the actual Batman to life from off the comics page, and there’d still be vocal opposition at every turn. Thus is the very nature of the internet: nobody’s happy, and every 400-pound basement-dweller with an online account has the steel gonads needed to talk endless shit (and spell and use apostrophes with the accuracy of an illiterate eighth-generation inbreeding casualty) behind the safety and anonymity of their laptop.

So the smart money for Warner’s was to go with a big name. This isn’t a retread of casting George Clooney as Batman, a move done solely to capitalize on his then-current popularity as Hollywood’s favorite it-actor. This is Warner’s, Zack Snyder, and Christopher Nolan saying: “Here’s a guy who loves comics, is a great actor, and, after a big Oscar win and proven ability as a director, coming onboard our crazy-ass project to become a piece of our puzzle.” In other words, the casting choice isn’t about pimping Affleck as a leading man. It’s about integrating an accomplished star, who happens to have the star power to bring his own gravitas to the role, into their body of work. It’s inspired, and it’s crafty. It’s also a smart business move.

Too bad the Batman/Superman movie is two years away and we’re going to all have to hunker down and listen to the constant barrage of bitching and just hopefully tune it out. I get the complaints about Daredevil and Gigli, folks. But those turds were a long time ago, and Affleck’s been appropriately brought back down to Earth, matured, and proven to be worthy of all the hype in the ’90s and early ’00s. It turned out to be for different reasons than we thought at the time, and surely that’s a good thing, as Affleck in his prima donna years was an insufferable douchebag who just happened to be pals with Kevin Smith and therefore got a lot of latitude.

Thankfully things have changed, which means, internet, you need to quiet down for awhile and go back to picking apart the minutia of The Hobbit. Now there’s a crass Hollywood subject worthy of a bitch-fest.

In Nolan We Trust,



Today is the day I officially begin geeking out about next year’s X-Men: Days of Future Past. Why? Because today, Fox began an extremely aggressive marketing campaign with the launch of the Trask Industries website. As I move from orator to shill, I say unto thee: check this shit out, because it’s COOL. They’ve put a lot of detail into it, up to and including an extremely disconcerting propaganda video about how amazing the Sentinels are. Bonus: Peter Dinklage in full-on burly-mustache mode!

Oh, and there’s Sentinels.


Anyway. Back to our regularly scheduled program.



Movie Review! The Wolverine


Admittedly, James Mangold might not have been my first choice to direct a Wolverine movie. He knows drama, but does he know action? Turns out he does. His problem, if anything, is his inherent unfamiliarity with Logan’s source material. Mangold is a character director among action directors: see 3:10 to Yuma and the seriously underrated Copland. Dramas with action, and heavy on the character work. With that in mind, I’m pleased to say that Mangold is very nearly the exact type of director to handle Logan and his travails. The movie might go off the rails in the last twenty minutes or so, but I’ll get to that.

The Wolverine starts out in the aftermath of 2006’s abortive X3: The Last Stand, with Logan having ditched society altogether out of guilt from having killed Jean Grey, whose memory plagues his dreams. He’s also sworn off of violence. Not surprisingly, this doesn’t last very long.

Enter Yukio, a cute Japanese girl who comes to bring Logan to Japan, at the behest of a man named Yashida. Back in the day, Logan saved this man’s life during the Nagasaki atomic blast. Now Yashida is dying, and wants to pay Logan his final respects. As it turns out, this is total crap: what he really wants is to give Logan the gift of death by taking away his healing factor. How he intends to do this, and how it will work, is utterly glossed over, in one of the script’s main plot holes. But it’s a good character moment: Logan, after all his years, is finally being given the chance to die.

Now, the whole “hero loses his powers” routine is pretty common. And has there ever been a time when the hero didn’t regain his or her powers? But Hugh Jackman totally sells the isolation Logan feels, and mines it for all its dramatic worth, so I’m okay with this cliche. Were this movie in any way, shape, or form like the emotionally derelict X-Men Origins: Wolverine, it would be game over at this point.

But sure enough, Logan finds his healing powers slowly fading (interestingly, the movie at no time makes reference to his enhanced senses, but presumably they’re muted too). And the timing couldn’t be worse, because Yashida’s sudden death leaves the door open for a multigenerational power struggle for control between Yashida’s granddaughter, Mariko, to whom his company and empire have been bequeathed, and her father, Shingen, who’s an asshole and pissed off over having been passed over for the throne.

Shenanigans abound, and it doesn’t take long before Mariko is kidnapped by Yashida’s enemies in the Yakuza (why a legitimate businessman would have enemies in the Yakuza is never explained), which leads to Logan being on the hunt to get her narrow ass back. This leads to several thrilling chase sequences, and one hell of a cool confrontation atop a bullet train (which completely forgets the laws of physics exist, but hey). This sequence also introduces Harada, who is like the Japanese equivalent of Hawkeye when it comes to his bow and arrow and handily picks off several of Logan’s pursuers.

Logan prevails, and goes into hiding with Mariko, where they wind up doing the horizontal mambo after knowing each other for like a day at best. Action movie cliche? Sure. One of the few places this movie outright stumbles, in fact. My theory is that this is Mangold paying lip service to comics’ Logan/Mariko romance, but without knowing the full history and breadth of it. Either way, now Logan has an emotional stake in the proceedings as well.

Things proceed and we’re introduced to Viper, too, and suddenly, I realized there were not one but two plots going on, each somewhat dovetailing and complementing each other but also working toward different ends, both of which are no bueno for Logan and Mariko. Everyone has their own game they’re playing, their own stake in capturing Mariko. And Logan, sans powers, is caught in the middle. Harada has an angle, Viper has an angle, Shingen has an angle, and his battle with Logan at the end of the second act is absolutely the highlight of the movie. WOW, that’s how Logan versus a ninja is SUPPOSED to look!

As I said at the beginning, things go off the rails with about twenty minutes to go, as Mangold’s inherent lack of knowledge of his source material causes some serious goofiness when it comes to Viper and the Silver Samurai. That’s unfortunate, but it’s still entertaining, even if it lacks any sort of logical explanation as to how this and that are working the way they do. The best hint I’ll give: if you want to completely drain a film of any and all emotional stake, have your hero face an emotionless robot (see: Iron Man 2). This is a video game ending, not a movie ending. After spending the previous two hours working up a serious emotional core for this film, Mangold’s bizarre decision to–oh, what the hell, I’ll spoil it because it’s stupid anyway–have the Silver Samurai turn out to be a big, silly adamantium-laced samurai ROBOT is quite a letdown. In comics, it’s Harada who is the Silver Samurai, and he’s badass enough to beat Wolverine hands down, so I was utterly dumbfounded by this bizarre decision. And the surprise with the robot Silver Samurai… well, let’s just say it’s unconvincingly lame and makes absolutely no sense.

All in all, though, this is a summer movie that actually takes its time to build an emotional stake in its characters, which is a rare thing indeed, especially as the foul taste of X3 and X-Men Origins: Wolverine still linger on the X-Men franchise. Yes, it might spin off the rails in the end, and there are a couple of plot holes that remain unobligingly unfilled, but it’s still definitely worth checking out, if for no other reason than for us nerds to see a Wolverine kicking ass and our girlfriends or wives to see Hugh Jackman running around without a shirt much of the time. Score: 8/10.

(Also: stick around for the stinger in the credits, as it’s a setup for next year’s X-Men: Days of Future Past. But that’s it; no second stinger post-credits.)

Belated Movie Review: Pacific Rim

Going into Pacific Rim, you ought to know exactly what to expect: big robots and big monsters (or, excuse me, “jaegers” and “kaiju”) whompin’ the unholy shit out of each other. If you don’t, you’re probably that all-too-common form of moviegoer who walks into a movie without knowing jackshit about it, and then complains because it wasn’t what they wanted. In any case, back to the jaegers and kaiju: this is a movie dedicated to director Guillermo Del Toro’s love of old Japanese films that feature one or both of the above in rubber suits tearing into each other and destroying not-particularly-convincing scale models of various Japanese cities. Pacific Rim‘s his love letter to a genre of another age, when atomic fears fueled many a silly monster movie: Godzilla, Mothra, Rodan, etc. all owe their existence to this ur-Power Rangers wackiness. (Remember the one where Godzilla did a little hoppy dance with the snaps and stuff? Or had a son named Godzooky?) I totally understand Del Toro’s enthusiasm. When I was a kid, around seven, eight, nine years old, I loved the SHIT out of these movies. Every Saturday afternoon, either TNT or TBS or one of those cable channels like that in their ’80s incarnation would air one or two of these, and I’d go apeshit. (My favorite was Godzilla vs. King Kong.)

So here, then, is del Toro, totally acting to recapture his youth in the biggest, tentpoliest way possible. So why, then, does it feel like he’s holding back? One of del Toro’s signatures is his eye for quirky, eye-catching detail that truly draws you into the world he’s creating. But for whatever reason in Pacific Rim, the kaiju are almost constantly shot in various close-ups, moving too quickly for the eye to focus. I couldn’t even figure out what some of the creatures fully looked like for long durations of time because of this, and also because nearly every fight scene is in the dark, and also in the rain. I get what del Toro is going for–the shock (and, yes, awe) of a big monster coming out of the dark to GET YOU!!!! but doing this once would have been more than enough. As it stands, all of the various kaiju come off as more or less exactly the same because we can’t make out their distinctive details. He also uses a considerable amount of near-Baysian shaky cam during the epic fights to simulate disorientation, which ultimately does more harm than good.

So what the hell’s the plot, anyway? There’s not much of one. As I stated from the start, if you’re here for anything other than robots vs. monsters, you’re at the wrong flick. Sometime in the near future, kaiju begin emerging from the Pacific Ocean  and wreaking hellacious havoc, destroying cities and generally making pains in the ass of themselves. Conventional military ways and means aren’t getting the job done, so the various nations of the world put aside their differences to fund the jaeger program, which is to say, to build big-ass robots to rock ’em-sock ’em the monsters. This is beyond silly, of course, but that’s not the point. The point is to have fun, which, when there are tussles going on (the Hong Kong throwdown is fucking AWESOME), this movie really, really comes to life (despite the cinematography issues I mentioned above).

The problems start when del Toro gets hung up in the details. Such as the EXTREMELY-belabored, overworked explanation for how the jaegers are piloted. Because of the massive energy surge caused by the neural link needed by a human to interface with the jaeger and pilot it, two pilots are needed to split the difference. But for this to work properly, their minds must literally be in sync, or as the movie likes to call it ad infinitum, “drifted.” The two pilots’ minds go through the drifting process and suddenly, they are mentally entwined, privy to each others’ innermost thoughts, feelings, and secrets. Gee whiz, what a great plot device! I bet no melodramatic tension is wrung from that! No sir!

Enter Charlie “Don’t Call Me Jax Teller” Hunnam, as jaeger pilot Raleigh Becket. He’s a loner! He’s moody, and doesn’t play well with others! He used to be a jaeger pilot until a kaiju killed his brother while they were still drifted, leaving him scarred with memories he can’t get past! He’s a walking cliche! But at least he takes his shirt off a few times to show off his abs and pecs. Becket is brought back into the jaeger program, which, after ever-increasing defeats, is being deactivated in favor of a coastal defense wall (which of course proves highly inadequate, creating the need for jaegers once more). A shot at redemption! A chance to work past his brother’s death! Holy crap, we’re piling the cliches high now!

You can probably guess the rest. Becket is back serving under his former commanding officer, played by Idris Elba in an exact Xerox of his role in Prometheus; once again he’s bucking authority; the new guys hate him or are at least mistrustful of him. There’s an x-factor chick (Rinko Kikuchi) who’s full of mystery and turns out to be the ideal candidate for Raleigh to drift with. And drift they do: in fact, there’s so much drifting going on, the movie feels the need to talk about it in nearly every! single! scene! to ensure that, yes, we know what the fuck it is. Because it wouldn’t have been simpler to just have two people or hell even ONE person simply pilot the damn jaeger. String after string after string of cliche of some sort or another is on full display in any scene where there’s not a crazy robot vs. monster fight going on.

In fact, the entirety of the cast seems to be on autopilot. As I stated, the great Idris Elba, an actor of great range, is utterly wasted in a stock “hardnosed commanding officer who turns out to have a good heart” role. Hunnam plays every outsider good-guy beat in the book (with zero flair or authenticity) that’s been in play since Tom Cruise shat Top Gun on the world. Kikuchi falls into the strong and silent Asian chick trap, and it’s also worth noting she’s literally the ONLY female in this movie with a speaking part. Charlie Day plays Charlie Day. You get my point. The only actor who seems to be actually having any fun is Ron Perlman, but even he’s playing a watered-down version of any given badass he’s ever played.

You see, as I stated above, it’s when the kaiju and the jaegers aren’t in play that del Toro slips up. For a guy making a mash note to his favorite childhood genre, he sure is conservative with the amount of actual fights to behold. I guess maybe he wanted to save the fights and make them a true highlight–and that certainly are, but at least he could have had the courtesy to make the scenes in between them special too or at the very least interesting.

Let me be clear, though, because I realize I’ve spent the last few paragraphs coming off like I’m dragging the entire movie through the mud, and I’m not. Pacific Rim is, in fact, good, harmlessly dumb fun. There’s some stuff to grouse about, stuff to nitpick, stuff to roll your eyes over. It’s a decent popcorn flick, and definitely worth seeing in all its spectacle on the big screen, given the enormity of the battle scenes. I just wish del Toro had put equal effort into ALL parts of the film, and not just the ones that give his inner eight-year-old a boner. Score: 6/10.

SDCC ’13: Some Quick Thoughts

Another year, another nerdgasm known as San Diego Comic Con has come and gone. Unless you’ve been living under a rock, you know that SDCC is THE place to go for the biggest, latest, ground-breakingest news in the world of Comics in Realms Other Than Comics… which translates to movies, for the most part. (Although TV gets a good bump, too. And oh yeah, there are some actual comic creators there as well. Yes, Hollywood hasn’t quite kicked them out just yet.

So I thought I’d take a minute to react to some of the larger-looming news items that unspooled over the course of the weekend. Because, seriously, we nerds don’t have much better to do than light up the internet with our innermost thoughts/unfiltered rage about what’s going on with our favorite characters.

1. “Age of Ultron?! THE FUCK!?” I’ll be the first to admit I went into a blind rage after the initial announcement of the retitled Avengers 2 was revealed as Avengers: Age of Ultron. Who in their right mind wouldn’t be worried? Age of Ultron proved to be not only one of the worst event comics of all time, with barely a coherent story; not only did it prove to be the biggest blight of Brian Michael Bendis’s career; NOT ONLY was it one of the worst Marvel comics in the last decade, PERIOD…. now this afterbirth of a story is going to invade the big screen version of my beloved Avengers?! No, no, no… I was in complete denial, and then Joss Whedon assuaged my fears. According to a video interview procured by comicbookmovies.com, Whedon basically told everyone to chill because his sequel shared a common title with that miniseries, and that’s about it. His sequel is Ultron’s origin with a title cribbed from a recent story, which shows the synergy going on at Marvel right now between film and print, which is a masterstroke in marketing but unfortunately also leads to little things like a black Nick Fury suddenly being shoehorned into the Marvel Universe proper (the print universe, I mean). So that is what it is, I suppose. Nothing to worry about, except…

2. “No Hank Pym?!?! THE FUCK?!?!” Whedon decided to also drop the bomb that his Avengers sequel would NOT feature Hank Pym, which therefore strains the assumed connections between that film and Ant-Man, which is the following Marvel film after that. It also means that Whedon intends on pushing the limits of fan tolerance when it comes to things like this, because the removal of Hank Pym from the equation means a significant departure from Ultron’s established comics origin. This could considered a risky move were it being pulled by anyone other than Joss Whedon, Our Lord and Master.

3. “Sorry, but a talking raccoon just ain’t doin’ it for me.” Despite all the casting reveals and whatnot that we got on the Guardians of the Galaxy front, I’m still having a difficult time mustering up ANY enthusiasm for this film. It seems, at least on the surface, as something of a Star Wars homage all tucked into the furthest recesses of the established Marvel universe. But its cast is HUGE, and it has three established villains: the Collector, Ronan the Accuser, and Nebula, plus Thanos in some unspecified capacity (probably behind the scenes, pulling the strings, in an Emperor Palpatine-esque fashion). We’re going to need more information on this one before I can classify it as anything other than a bizarre left-field attempt to diversify the onscreen Marvel U.

4. “Electro is blue! THE FUCK!?!? …Oh wait, it’s just the Ultimate version of the character.” No doubt even the hardest of hardcore Steve Ditko fans aren’t too broken up over the lack of Electro’s original look in Amazing Spider-Man 2. But I don’t think very many people (myself included) were expecting Marc Webb to go all-out Ultimate Marvel with the character’s look, either. But it makes sense, since ASM was basically Ultimate Spider-Man: The Motion Picture. Jamie Foxx looks great, though. Stealth aside, Foxx has revealed himself to be a seriously talented actor in the years since Ray (a movie only truly worth seeing for Foxx’s astounding performance). So that, I’m not worried about. What does worry me is the Rhino, played by…. Paul Giamatti? How completely bizarre is that casting? But in a movie that already sounds like it’s overstuffed (Spidey! Gwen! Electro! Rhino! Norman Osborn! Harry Osborn!), director Marc Webb recently told Entertainment Weekly that Giamatti doesn’t even have a large role. So if that’s the case, why’s he even in there? Other than to sell cool toys to dumb kids, I mean? Sounds like studio interference to me, the same thing that doomed Sam Raimi’s Spider-Man 3 by forcing the director the wedge Venom into the story where there was no room for him. And then Venom both sucked and got short-changed. And Spidey 3 felt bloated and unfocused. And Peter Parker sported emo hair and danced, and we all wanted to stab our eyes out with rusty butter knives. So the fact that this appears to be going on in the mere first sequel, especially with third and fourth installments already slated, leaves my spider-sense tingling for the danger I sense looming on the horizon for this franchise.

5. “Walking Dead sure is cool! Wait, who the hell ARE these people?! THE FUCK!?!” The Walking Dead season four clip that debuted had a lot of good things going for it. There’s a palpable tension, mixed with the sense of hope that our hardscrabble survivors are in fact banding together, becoming a stronger community, and re-establishing some form of society. And Tyreese is there, being Rick’s newfound best friend, just like he should be. But there’s a lot of questionable stuff going on, too. After all, on top of last season’s… dubious finale (I’m being generous here), there’s a very real sense among fans that this show, this ratings juggernaut, may have jumped the shark a teensy bit. But a bigger concern lies with all those new faces we see in the clip. At least half the show’s original cast is dead by this point, four of them biting the bullet just last season, creating a vacuum which must be filled. But asking viewers to accept these new characters en masse is asking a considerable amount, and it may prove to be too much for many of the show’s more casual fans. Oh sure, you don’t become cable’s undisputed ratings champ without a solid core audience, but I hope the producers are prepared to take the hit if these new characters don’t pan out. (But hey, seeing Larry “D’Angelo Barksdale” Gilliard Jr., from The Wire, scare up such an apparently prominent role as one of the rookie characters is awesome.)

6.“Dude, Vin Diesel sucks so hard.” It’s easy to say that. I haven’t had any interest in the guy since before the original Fast & the Furious, wherein he seemed to cement his title as Crown Douchebag of the Moment. But then his career tanked, and we seemed to be free of his bald-headed cockery. Alas, later installments of his series about cars driving very fast and doing many a credibility-defying thing proved me wrong. Son of a bitch! And now, it seems Marvel’s in on the Diesel racket. An official announcement has yet to commence, but the interweb rumor mill is strongly associating him with Ultron. Uh… huh. I’d actually say he’s a closer physical specimen to the Vision, who was the initial subject of rumor when Diesel first started hinting at his involvement with Marvel. I’d say he has about he right acting range to play the Vision… after all, it merely requires you to be a robot who occasionally says and does things that remind you he’s really human inside. Sounds about like every role Diesel has ever played! (Except that time he got shot to death early on in Saving Private Ryan.) But do we really want a Vision who sounds like Riddick everytime he opens his mouth to speak???

7. “Superman/Batman?! Yeah, good luck with that.” No, really. Good luck with that. Where to start with how much could possibly go wrong with this? Well, let’s start with the recasting of Batman, because Christian Bale has confirmed he’s done with the role. Whatever schmuck Warner Bros. gets to don the cowl is in for the utterly thankless task of following Bale in the role, and, assuming Superman/Batman hits its 2015 target release date, will be assuming the role a mere three years after Bale’s swansong in Dark Knight Rises. Which means that Bale’s performance will still be very, very fresh in most peoples’ minds, and whoever’s in the costume is going to have to weather an onslaught of criticism from all corners. Somewhere between now and 2015, Warner’s going to have to figure out a way to get out ahead of that, and it’s going to take the savviest marketing campaign this side of Don Draper to pull it off. Next problem: is one movie enough for both these characters? On the one hand, The Avengers proved that multiple “big” characters could in fact coexist on the big screen successfully and without any one character feeling diminished. But on the other hand, despite the fact that this film’s only focus is on two characters, not six or seven… this is SUPERMAN AND BATMAN we’re talking about. The twin archetypical, undisputed gods of comic book lore. Without these two characters, there ARE no comics. Trying to successfully balance these two vastly different characters is going to be one of the trickiest balancing acts in history… and let’s face it, Zack Snyder is no Joss Whedon. Which leads me to my third problem: Zack Snyder. He’s apparently being given the keys to the DC kingdom, but he’s without a doubt a style-over-substance director, which bodes ill for the future of the DC movie franchise (assuming it’s left in his hands) as Christopher Nolan pulls ever further away from the reins. (He’s pushed his role back to exec producer for Superman/Batman.) Snyder got lucky with the box office boom of Man of Steel, and was able to overcome its lukewarm reviews. But he doesn’t have the proven track record of being able to continuously generate the goods needed to be the directorial mastermind of an entire DCU, yet Warner is putting their stock in him anyway. I could be completely wrong by this (and yes, I hope I am), but I’m not holding my breath for Snyder to pull it off, either. Which leads me to my fourth and final sticking point: Warner Bros. wants The Flash next, and THEN a JLA flick, potentially in 2016 and 2017. The JLA film has had a notoriously bad time trying to get off the ground, and it doesn’t sound like Warner’s wants to wait around anymore, so they’re putting all their eggs in the Superman/Batman basket, operating under the assumption that it will work based on the basic nature of what it is. It’s common knowledge that Warner Bros. has a very, very shaky history with comic book film success (and even getting the projects in question off the ground at all) outside of Nolan’s Batman trilogy. As stated, Man of Steel has performed surprisingly well given its reviews, but what about Green Lantern? Or Superman Returns? Or the aborted Wonder Woman pilot, for that matter? Because of the grander-in-scale nature of DC’s characters, it’s always been trickier for them to translate–and more importantly, resonate–off of the comics page. It can be done, and has, multiple times in the past, but mostly on the small screen and in animated form. And all that was well before Marvel decided to squat down in 2008 with Iron Man and lay claim to the throne, a position it clearly has no intention of abdicating. So good luck to Warner Bros. with this Superman/Batman gamble. They’re going to need it.

That’s it for me. A lot of this was speculation, but I think you’ll agree that this was speculation that was built on a foundation of solid educated guesses. I’m sure there was a lot of other cool SDCC stuff I missed, but geez, there’s only so much I can take in. Next year, I predict Hall H will be consumed in a black hole of pure geekery, and I shall have nothing of the sort to discuss whatsoever.

Until then, I remain…